DOCSLIB.ORG

Robert Venturi and Saul Steinberg Andreea Margareta Mihalache Dissertation Submitted to the Faculty O

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert Venturi and Saul Steinberg Andreea Margareta Mihalache Dissertation Submitted to the Faculty O Boredom’s Metamorphosis: Robert Venturi and Saul Steinberg Andreea Margareta Mihalache Dissertation submitted to the faculty of the Virginia Polytechnic Institute State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Architecture and Design Research Paul Emmons, Chair Marcia Feuerstein Jaan Holt Amy Kulper April 16, 2018 Alexandria, Virginia Keywords: Architecture; Boredom; Midcentury; Robert Venturi; Saul Steinebrg © 2018 by Andreea Margareta Mihalache Boredom’s Metamorphosis: Robert Venturi and Saul Steinberg Andreea Margareta Mihalache ABSTRACT My dissertation investigates questions of boredom and architecture in the middle decades of the twentieth century through the work of two figures: the American-Italian architect Robert Venturi (b. 1925) and the Romanian-born American architect and artist Saul Steinberg (1914- 1999). The topic of boredom in architecture, and specifically within this timeframe, has been largely ignored in architectural history, theory, and criticism where, with the exception of a few articles, there is no consistent body of scholarship on this issue. Looming large in the sterile iterations of various –isms, boredom remains critical in contemporary architectural practice as the production and obsolescence of images becomes ever faster with new technologies. Quickly saturated with information presented in fleeting displays that are easy to produce, easy to delete, and easy to consume, as soon as our expectation for novelty and change fails to satisfy us, we fall back into the loop of boredom. While boredom as the dissociation of person from place has raised architects’ interest especially during the middle decades of the twentieth century, there is no significant scholarship on this topic. In this context, my research looks at the work of two architects who go beyond the attractive rhetoric of boredom and explore its potential as both a critical and a generative tool. Boredom’s Metamorphosis: Robert Venturi and Saul Steinberg Andreea Margareta Mihalache GENERAL AUDIENCE ABSTRACT My dissertation investigates questions of boredom and architecture in the middle decades of the twentieth century through the work of two figures: the American-Italian architect Robert Venturi (b. 1925) and the Romanian-born American architect and artist Saul Steinberg (1914- 1999). Although the topic of boredom as a disease of modernity has been studied in various fields, such as philosophy, literary studies, sociology, and visual arts, it does not have a presence in architectural scholarship. We live in a world where images are short lived, their production and obsolescence becomes faster with new technologies, and we become quickly bored with everything. In this context, boredom remains critical in contemporary architectural practice where we are quickly saturated with information presented in fleeting displays that are easy to produce, easy to delete, and easy to consume. As soon as our expectation for novelty and change fails to satisfy us, we fall back into the loop of boredom. My research looks at the work of two architects who go beyond the rhetoric of boredom and explore its potential both as a tool of criticism and as a design tool. DEDICATION To Luca and my parents, cu dragoste nemăsurată iv ACKNOWLEDGMENTS This dissertation has been closer to a personal journey than I would have ever imagined. It has been written over several years, in several places: a living room facing a quiet backyard in Brookland, Washington, D.C.; the Ph.D. student offices at the Washington-Alexandria Architecture Center; our family house in Bucharest, between two peach trees; the main reading room at the Library of Congress; an office with a lavish porch at Mississippi State University; the Lee Hall “Tower” at Clemson University looking at the often troubled skies of the South; and, finally, nello studiolo of our rental house in Central, SC. During all these years and in all these places, I would have never accomplished anything without the support, patience, and love of all the people who stood by me. This work owes everything to their friendship and unconditioned trust. I thank my committee members for their guidance, knowledge, and humanity. In her graceful and elegant manner, Dr. Marcia Feurestein has the incredibly strong gift of asking the right question at the right time and thus moving the research forward. By weaving together seemingly loose threads into an unexpected wondrous fabric, Dr. Amy Kulper has shown me how to construct meaning from conventional facts. With his infinite wisdom doubled by an infinite heart, Jaan Holt has magically made things possible at times when nothing seemed possible anymore. His larger than life personality belongs to mythology rather than ordinary life. Dr. Paul Emmons, my committee chair, continues to be a mentor and has become a friend. His ingegno operates at levels inaccessible to ordinary minds. With intuition and intelligence, he crafts not only future scholars, but perhaps more importantly, robust individuals. Entering the program, I did not know I would come out a different person. I wish to extend my thanks to Kate Schwennsen, Director of Clemson School of Architecture, a role model and inspiring leader, and to all my colleagues for welcoming me with open hearts. They all make the school an incredible and inspiring place. My gratitude goes to my friends. Dr. Sheila Schwartz, Research and Archives Director at The Saul Steinberg Foundation, is constantly helping me untangle the intricate threads of Steinberg’s life and work. Her discipline and rigor are exemplary, her knowledge, overwhelming, and her warm friendship, exquisite. I thank Berrin for her infectious laugh, and more importantly, for putting up with me during the last months of writing. My dear friends v Cristina and Vijay have stood by me in the thick and the thin. I thank Vijay for bringing spices into my life and for always staying calm in troubled waters. Cristina’s beautiful mind, honesty, and warmth are like no other. I hope she will always know what she means to me and that I am forever grateful for being part of her world. If someone is truly “responsible” for my finishing the work, it is my dear friend Muey, who patiently kept me from drifting away. The immense generosity, with which she fits the entire world in her tiny frame, is humbling. Anca and Virgil Nemoianu have become my family away from home, offering the unconditioned support that one only finds in the closest kin. My warmest and more sincere thoughts go to the Stavropoleos community in Bucharest, for their joy and wit, along with their reassuring presence that make the world a better place. Special thanks to my cousin Camelia, for her sharp humor, intelligence, kindness, and for always showing me the right way to cross the street. Over the years, my family has seen the doings and undoings of my life and work. My parents have watched me come, go, then leave again. Never a reproach, never a question. They are stronger, braver, and more forgiving than anyone I know. Without their love, I would be lost in an abyss. Finally, meeting my husband Luca was the most unexpected gift. Whereof one cannot speak, thereof one must be silent. To him and my parents this work is dedicated. vi TABLE OF CONTENTS Abstract ii General Audience Abstract iii Dedication iv Acknowledgments v List of Figures ix Preface xxiii Chapter 1: Between Boredom and Habitus 1 1.1. Learning from habitus and behaviorism 2 1.2. Boredom in midcentury architectural thought 47 1.3. Less is a bore. 64 Figures 81 First Interlude: Boredom and Dor 92 Chapter 2: Between Boredom and Flatness 133 2.1. Learning from the Quakers 135 2.2. Boredom and midcentury billboards 158 2.3. More is not less. 172 Figures 198 Second Interlude: Boredom and (Day)dreaming 215 vii Chapter 3: Between the Boring and the Interesting 231 3.1. Learning from the interesting 234 3.2. Boredom and midcentury visual arts 263 3.3. Is boring architecture interesting? 274 Figures 311 Postface: “A Quietly Seen Unseen” 318 Figures 323 Bibliography 325 viii LIST OF FIGURES CHAPTER 1 Figure 1.1. Robert Venturi, Denise Scott Brown, “I am a monument,” 1972. Public domain. Figure 1.2. Excerpt from Robert Venturi, Complexity and Contradiction in Architecture, 1st ed., 1966, p.22-23. Figure 1.3. Excerpt from Robert Venturi, Complexity and Contradiction in Architecture, 1st ed., 1966, p.30-31. Figure 1.4. Excerpt from Robert Venturi, Complexity and Contradiction in Architecture, 1st ed., 1966, p.82-83. Figure 1.5. Excerpt from Robert Venturi, Complexity and Contradiction in Architecture, 1st ed., 1966, p. 28. Figure 1.6. Excerpt from Robert Venturi, Complexity and Contradiction in Architecture, 1st ed., 1966, p. 37. Figure 1.7. Excerpt from Robert Venturi, Complexity and Contradiction in Architecture, 1st ed., 1966, p. 40. Figure 1.8. Excerpt from Robert Venturi, Complexity and Contradiction in Architecture, 1st ed., 1966, p. 41. Figure 1.9. Venturi and Short, Grand’s restaurant, Philadelphia, 1961-62. Venturi and Scott Brown Collection. Courtesy of The Architectural Archives, University of Pennsylvania by the gift of Robert Venturi and Denise Scott Brown. Figure 1.10. Venturi and Short, Grand’s restaurant, Philadelphia, 1961-62. Venturi and Scott Brown Collection. Courtesy of The Architectural Archives, University of Pennsylvania by the gift of Robert Venturi and Denise Scott Brown. ix Figure 1.11. Venturi and Short, Grand’s restaurant, Philadelphia, 1961-62. Venturi and Scott Brown Collection. Courtesy of The Architectural Archives, University of Pennsylvania by the gift of Robert Venturi and Denise Scott Brown. Figure 1.12. Venturi and Short, Grand’s restaurant, Philadelphia, 1961-62. Venturi and Scott Brown Collection. Courtesy of The Architectural Archives, University of Pennsylvania by the gift of Robert Venturi and Denise Scott Brown. Figure 1.13.
Load more

Recommended publications
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Painting Identity: the Disconnect Between Theories and Practices of Art by the LGBTQ Community
    Painting Identity: The Disconnect Between Theories and Practices Of Art by the LGBTQ Community Meg Long Advisor: Sarah Willie-LeBreton May 7,2012 2 Table of Contents Acl(nowledgements ........................................................................... 3 1. Introduction .............................................................................. 4 2. Perspectives on Racial and Sexual Identity in Modem and Contemporary Art .......................................................................................... 10 3. Influence of Self Identity for Contemporary Artists .......................................... 33 4. Discourse Analysis: Art and Sexual Identity ......................................... 55 5. Conclusion .................................................................................76 Worl(s Cited .............................................................................. 84 Appendix A ............................................................................... 86 Appendix B ............................................................................... 87 3 Acknowledgements First and foremost, thank you to my father for his endless support throughout this process; as always in life, I would be lost without him. Likewise, thank you to my mother for her energy and encouragement. I also cannot be appreciative enough of my advisor, Professor Sarah Willie-LeBreton for helping me in more ways than I can enumerate, even when my process was dubious at best. Thank you to the participants who shared their stories
    [Show full text]
  • Press Release (PDF)
    G A G O S I A N G A L L E R Y August 29, 2016 The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates. —John Elderfield Gagosian Gallery is pleased to present “Plane.Site,” a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery. (Continue to page2) 6 5 7 H O W A R D S T R E E T S A N F R A N C I S C O C A 9 4 1 0 5 T .
    [Show full text]
  • Traditional Architecture in Romanian Philately (V): Case Study Regarding Households in Nereju, Ostrov, Sălciua De Jos, Șanț and Sârbova
    Asian Journal of Education and Social Studies 17(3): 18-28, 2021; Article no.AJESS.67765 ISSN: 2581-6268 Traditional Architecture in Romanian Philately (V): Case Study Regarding Households in Nereju, Ostrov, Sălciua de Jos, Șanț and Sârbova Bogdan-Vasile Cioruța1* and Alexandru Leonard Pop1 1Technical University of Cluj-Napoca-North University Center of Baia Mare, Office of Informatics, 62A Victor Babeș Street, 430083, Baia Mare, Romania. Authors’ contributions This work was carried out in collaboration between both authors. Author BVC designed the study, performed the literature searches, and wrote the first draft of the manuscript. Author ALP managed the analyses of the study. Both authors read and approved the final manuscript. Article Information DOI: 10.9734/AJESS/2021/v17i330422 Editor(s): (1) Dr. Ana Sofia Pedrosa Gomes dos Santos, Universidade de Lisboa, Portugal. (2) Dr. Nasser Mustapha, University of the West Indies, Trinidad and Tobago. (3) Dr. Roxana Plesa, University of Petrosani, Romania. Reviewers: (1) Alcínia Zita Sampaio, University of Lisbon, Portugal. (2) Ashar Jabbar Hamza, Al-Furat Al-Awsat Technical University, Iraq. (3) Lidia García-Soriano, Universitat Politècnica de València, Spain. (4) Ali Fattahi Bafghi, Shahid Sadoughi University, Iran. Complete Peer review History: http://www.sdiarticle4.com/review-history/67765 Received 07 March 2021 Original Research Article Accepted 14 May 2021 Published 18 May 2021 ABSTRACT Traditional architecture is integrated into the landscape, is adapted to the environment, and uses local natural materials. These are the general features. In fact, in each area there are their own and recognizable elements that ensure the local specificity. In this context, the present study aims to emphasize the beauty of traditional Romanian architecture in terms of philately.
    [Show full text]
  • Descendants of Daniel P Brown Courtesy of Frazier Farmstead Museum Our Goal Is to Research the Pioneers That Came Into the Walla
    Descendants of Daniel P Brown Courtesy of Frazier Farmstead Museum Our goal is to research the pioneers that came into the Walla Walla Valley Area, as a starter for those doing their family genealogy; we are not related . June 24, 2006 Generation No. 1 1. DANIEL P1 BROWN died Abt. 1850 in Galena, Wisconsin. He married ANN ?. She was born Abt. 1800 in New York, and died 30 Jun 1877. More About DANIEL P BROWN: Cause of Death: Cholera Notes for ANN ?: History of Northern Wisconsin : containing an account of its settlement, growth, development, and resources, an extensive sketch Portage County, The Western Historical Company, A. T. Andreas, Proprietor, 1881, page 747 MRS. D.P. BROWN was an early settler, appearing with her husband in 1847. They kept the Phillips House. Mr. Brown died in Galena, in 1850, of cholera. She was seventy-seven years of age at the time of her death, June 30, 1877. She was the mother of Mr. D. C. Brown and of Mrs. Judge Cate. *********** 1850 Census WI Portage Stevens Point Pg 12 Brown,Ann,50,F,NY Dewitt C.,19,M,Laborer,MI W.S.,17,M,IL Lovana,14,F,IL Frances W.,12,F,WI Iowa,10,M,IA ********* 1860 Census WI Portage Stevens Point Pg 367 Line 23 1292 1472 Walter S Bronw 28 IL Ann Brown 59 F NY Iowa Brown 20 M Raftsman IA More About ANN ?: Census 1: 1850, WI Portage Stevens Point Pg 12 Census 2: 1860, WI Portage Stevens Point Pg 367 Census 3: 1870, WI Portage Amherst Pg 62A(See Son-in-law George Cate(Lavara)) Children of DANIEL BROWN and ANN ? are: 2.
    [Show full text]
  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE Deborah Ziska, Information Officer March 19, 1999 PRESS CONTACT: Patricia O'Connell, Publicist (202) 842-6353 NATIONAL GALLERY OF ART SCULPTURE GARDEN TO OPEN MAY 23 New Acquisitions in Dynamic Space Will Offer Year-Round Enjoyment on the National Mall Washington, D.C. -- On May 23, the National Gallery of Art will open a dynamic outdoor sculpture garden designed to offer year-round enjoyment to the public in one of the preeminent locations on the National Mall. The National Gallery of Art Sculpture Garden is given to the nation by The Morris and Gwendolyn Cafritz Foundation. The landscaping of the 6.1-acre space provides a distinctive setting for nearly twenty major works, including important new acquisitions of post-World War II sculpture by such internationally renowned artists as Louise Bourgeois, Mark di Suvero, Roy Lichtenstein, Claes Oldenburg and Coosje van Bruggen, and Tony Smith. The Sculpture Garden is located at Seventh Street and Constitution Avenue, N.W., in the block adjacent to the West Building. "We are proud to bring to the nation these significant works of sculpture in one of the few outdoor settings of this magnitude in the country," said Earl A. Powell III, director, National Gallery of Art. "The opening of the Sculpture Garden brings to fruition part of a master plan to revitalize the National Mall that has been in development for more than thirty years. The National Gallery is extremely grateful to the Cafritz Foundation for making this historic event possible." - more - Fourth Street at Constitution Avenue.
    [Show full text]
  • Pat Adams Selected Solo Exhibitions
    PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia,
    [Show full text]
  • Art in America
    MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, self­assured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs.
    [Show full text]
  • Quaker Thought and Life Today
    Quaker Thought and Life Today JUNE 1, 1964 NUMBER 11 .. Quakerism and Creed by Alfred S. Roberts, Jr. f!l, U A.KERISM cannot The Pursuit of Truth in a Quaker prove that there is that of God in every man; it can only College say that when men behave as by Homer D. Babbidge, Jr. though there were, the weight of evidence amply justifies the belief. It cannot prove that love will solve all problems; it can only note that love has The Civil Rights Revolution a much better record than by John De J. Pemberton, Jr. hate. -CARL F. WISE The Little Ones Shall Lead Them by Stanley C. Marshall THIRTY CENTS $5.00 A YEAR ' ' Letter from Costa Rica-Letter from the Past . • 242 FRIENDS JOURNAL June 1, 1964 FRIENDS JOURNAL UNDER THE RED AND BLACK STAR AMERICAN FRIENDS SERVICE COMMITTEE Lucky Money *HE newest project of the AFSC's Children's Program T is the Happiness Holiday Kit, which gives basic in­ formation about the Committee's Hong Kong day nurs­ ery. The Kit contains, along with other materials, bright red and gold envelopes for "Lucky Money" to assist the Published semimonthly, on the first and fifteenth of each month, at 1515 Cherry Street, Philadelphia, Pennsylvania Quakers in their work with Hong Kong children and 19102, by Friends Publlshlng Corporation (LO 3-7669). mothers. This project, launched in the fall of 1963, al­ FRANCES WILLIAMS BROWIN Editor ready has brought in more than $3000 for the AFSC's ETHAN A. NEVIN WILLIAM HUBBEN Assistant Editor Contributing Editor work in Hong Kong.
    [Show full text]
  • Positive Psychology – Unmitigated Good, and Pessimism As a Categorical Impediment to Wellbeing
    E L C I contrasting phenomena were implicitly T conceptualised as negative, positioned as R intrinsically undesirable. So, for example, A optimism tended to be valorised as an Positive psychology – unmitigated good, and pessimism as a categorical impediment to wellbeing. Some scholars did paint a more nuanced the second wave picture; for instance, Seligman (1990, p.292) cautioned that one must be ‘able Tim Lomas delves into the dialectical nuances of flourishing to use pessimism’s keen sense of reality when we need it’. However, in terms of the broader discourse of the field, and its cultural impact, a less nuanced binary t is nearly 20 years since Martin wellbeing – could be brought together message held sway. Seligman used his American and considered collectively. Thus, as While seemingly offering an upbeat IPsychological Association presidential a novel branch of scholarship focused message – linking positive emotions to address to inaugurate the notion of specifically and entirely on ‘the science beneficial outcomes, such as health ‘positive psychology’. The rationale for its and practice of improving wellbeing’ (Fredrickson & Levenson, 1998) – this creation was Seligman’s contention that (Lomas et al., 2015, p.1347), it was valorisation of positivity was problematic, psychology had tended to focus mainly a welcome new addition to the broader for various reasons. Firstly, it often failed on what is wrong with people: on church of psychology. to sufficiently appreciate the contextual dysfunction, disorder and distress. There However, positive psychology was complexity of emotional outcomes. For were of course pockets of scholarship that not without its critics. A prominent instance, ‘excessive’ optimism can be held a candle for human potential and focus of concern was the very notion harmful to wellbeing (e.g.
    [Show full text]
  • “Print by Print: Series from Dürer to Lichtenstein” Exhibition at the Baltimore Museum of Art
    A behind the scenes look: the making of the “Print by Print: Series from Dürer to Lichtenstein” exhibition at The Baltimore Museum of Art One of our recent projects was to make frames for The Baltimore Museum of Art’s “Print by Print: Series from Dürer to Lichtenstein” exhibition. In doing research on the exhibition I noticed the funding came because of the collaboration the museum did with the students from The Johns Hopkins University (JHU) and the Maryland Institute College of Art (MICA). Since funding has become much more of an issue in these days of reduced budgets, this caught my attention and I wanted to find out more about the collaboration. I was also interested in sharing with our readers a behind the scenes view of the making of an exhibition. On Friday November 18, 2011 I met with Rena Hoisington, BMA Curator & Department Head of the Department of Prints, Drawings, & Photographs, Alexandra Good, an art history major at JHU, and Micah Cash, BMA Conservation Technician for Paper. Karen Desnick, Metropolitan Picture Framing I was especially intrigued about the funding of this exhibition and the collaborative aspects with the students of The Johns Hopkins University and the Maryland Institute College of Art. Can you elaborate on the funding source and how the collaboration worked? Rena Hoisington, BMA I submitted a proposal for organizing an exhibition of prints in series a couple of years ago. Dr. Elizabeth Rodini, Senior Lecturer in the History of Art Department at The Johns Hopkins University and the Associate Director of the interdisciplinary, undergraduate Program for Museums in Society, then approached the Museum about working on a collaborative project that would result in an exhibition.
    [Show full text]
  • Mississippi Teacher's Perspectives of Danielson's Framework for Teaching
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-2018 Mississippi Teacher's Perspectives of Danielson's Framework for Teaching Donna Floyd University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Recommended Citation Floyd, Donna, "Mississippi Teacher's Perspectives of Danielson's Framework for Teaching" (2018). Dissertations. 1574. https://aquila.usm.edu/dissertations/1574 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. MISSISSIPPI TEACHER’S PERSPECTIVES ON DANIELSON’S FRAMEWORK FOR TEACHING by Donna Crosby Floyd A Dissertation Submitted to the Graduate School, the College of Education and Human Sciences and the School of Education at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved by: Dr. David Lee, Committee Chair Dr. Sharon Rouse Dr. Kyna Shelley Dr. Richard Mohn ____________________ ____________________ ____________________ Dr. David Lee Dr. Lillian Hill Dr. Karen S. Coats Committee Chair Department Chair Dean of the Graduate School December 2018 COPYRIGHT BY Donna Crosby Floyd 2018 Published by the Graduate School ABSTRACT The focus of this study was to measure Mississippi teacher’s perspectives as identified in the Teacher’s Perspectives on Danielson’s Framework for Teaching (TPDFT) instrument. This quantitative study investigated whether or not statistically significant differences existed between domains as identified in the TPDFT, and if these findings differed statistically as a function of years of teaching experience, type of Mississippi teaching certification, and degree of professional trust.
    [Show full text]